she was as shocked as anyone. old hollywood, new hollywood in a moment only hollywood could bring us. ♪ ♪

♪ ♪ ♪ >> we're heading for the valley. >> where did you say? >> mexico. all the way down. >> you're going all the way to mexico tonight in this old heap

of junk? >> reckon the town get along without us till monday? >> i reckon. if i was young enough to bounce that far, i would go with you. >> "the last picture show" waze movie that however old i was when i saw it, i was like oh, my god, this is about me. this is about us. this is about america as we are right now here in the mid-'70s, not as we were in the 1950s. >> peter don vich loved movies, had awe sense of movie history, but had a very strong sensibility. he spoke to a new generation, both visually and emotionally. >> orson wells wanted it to be sharp. he said you'll never get it in

color. what do i do? shoot it in black and white. >> "the last picture show" is the movie that made me fall in love with movies. it just blew my mind. it's about everything that holds you back, and it's about being young. there is heartbreak, wisdom that comes of age, and young people discovering how fast time goes. >> in "the last picture show" there was a quality of reality. there's no feeling of watching a performance but of experiencing another human being. >> really it's about experiencing america. >> hope you enjoy the show. >> nobody wants to come to the show anymore. >> maybe necessary of death of hold hollywood that had to make way. >> at the end of the 60s, hollywood was ballooning budgets

up to catastrophic size. >> i'll tell you what. >> so, it opens the door for smaller movies. and when the budget's lower, the artistic freedom tends to be higher. >> play misty for me. >> all of a sudden here's a young group of directors that came along and started blowing up the bridges behind them of the way things used to be and now we're trying new ways. let's see if it works. >> will french connection was about a couple of new york cops doing a hard hustle and busting a bunch of low life drug dealers. >> billy shot the film like a documentary. he found awe way to make it so real. it really influenced me. my favorite gene hackman performance and pop eye doyle. >> gene hackman, it was just so filled with anger it just made

me so happy to see that kind of life boiling. >> the car chase was undeniably actually happening in real time. this was the greatest car chase in a film that wasn't supposed to be about a car chase. >> the new hollywood coming out was angry. and young. and that anger changes the whole aesthetic of hollywood. >> there is something about movies in the '70s. they just were all very tangible. you felt like you were really in it. >> these dark, dark films that life is shit, and that's the punch line. >> movies are uglier, they're dirtier, they're more uncomfortable. they're more dangerous. they're more vietnam. >> we were starting to deal with a counterculture and taking it seriously because we were young,

we were part of the counterculture. >> "patton" was a film about world war ii and connects with the great estrogen ration. but it's also a film about reconsidering war and connects with the vietnam generation. >> you're just a coward. >> and it is told with irony by this young screenwriter named francis ford cupla. >> coppla had his foot in hollywood before that. >> i was very unhappy during the production because you didn't get the cast. you didn't get to pick the art director. you didn't get to do the final postproduction. out of my frustration, one of highlights of the picture, this skinny kid would come watch what i was doing and became a friend of mine. that was george lucas.

>> i think the student films are the only real hope. i think they're slowly beginning to realize that students know what they're doing. >> these guys saw hollywood as deaf. they were all very influenced by the fresh new wave in european films. that's how francis saw himself. his fantasy was he was going to make a series of these out of hollywood movies with lucas and other people they attracted. they decided to start their own studio. >> the first movie they make is by george lucas. he makes "thx 11 38" and it is a flop. it goes over everybody's head. >> it probably almost ended lucas' career before it started. >> so, it was running into trouble. >> at the same time paramont was running out of money. i said what would happen if we bought the rights to some really interesting commercial novels

and married that material to all these bright young filmmakers out there? >> when paramount came along and offered francis "the godfather" which he did not want to do, he turned it down. >> i reminded francis with annoying frequency that he was broke and he had to take my offer to direct this picture. >> so, what happens next? coppla finally takes the paying gig which might be the most beloved movie of all time. this is something big.

this is something bigger. [ "movin on up" by primal scream ] that is big. not as big as that. sure that's big. that's bigger. big. bigger. big. bigger. big. but that's bigger. wow, big. so much bigger. this is big. but that's...well, you got this.

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"the godfather" is unquestionably one of the great movies of all time. its narrative sweep, the beauty with which it's made, the quality of its acting. all of those things are un undenyable. >> godfather. >> the film is about power. it's about the succession of power. it's about morality. it's about responsibility. the fact that it's about a mafia family is just the dressing of it. >> al pacino's character is the youngest son of the godfather. he understands what's going on with his family, and he explains it in cold blooded detail to kay right there. >> my father made him an offer he couldn't refuse. >> what was that? >> he held a gun to his head,

and my father assured him either his brains or his signature would be on the contract. >> he was so innocent. he was quiet. he was shy. he was outside. he was not in the inner circle. >> that's my family. it's not me. >> he kind of deludes himself into believing that. everything starts to change when his father is almost murdered. the family has to take revenge. and michael decides he will do it. >> he's there in that restaurant, and you see that look in his eye. to say that either he knows they're going to shoot him or he doesn't know, he's trying to decide, he's going to get up and walk out. it's going to change his life forever. it's one of those moments where right after this happens, nothing's ever going to be the same again.

>> how do you let go of what you have been raised in? can you let go? do you just become another one of the line of the same thing? >> i never wanted this for you. >> you really cared about these people. you understood the godfather's wanting his son to be separate from all of the crime. you understood his sadness when that didn't seem possible. >> senator core, governor. >> it's very much a story about america, both the promise and the destroyed promise of america. >> i saw that film four times in five days. and up until that point, i had always thought that "lawrence of arabia" was the greatest film ever made until the first "godfather." >> what we see in "the

godfather" part two, we see the story of michael as he's evolving and becoming more ruthless than his father could have imagined. >> you won. you want to wipe everybody out? >> i don't feel i have to wipe everybody out. just my enemies. that's all. >> at the same time, it's intercut with the story of his father as a young man played by robert de niro becoming a powerful mob leader in new york. >> i studied what brando had done in "the god father," gestures and expressions. i had to try to create the thing that he had. >> i will make an offer you won't refuse. >> it's very candid to have half the mood be this irresistible young man trying to figure out legitimately and otherwise how do i make it in america.

core >> everything don did was for his family. whereas, michael, everything he does is about making money and accumulating power. >> he rationalizes by saying, this is for the family. but ultimately, he destroys the family. >> this is the product of francis ford coppola. you feel his sensibility. and this is the great revolution of the 1970s. >> then it became very clear to the studios, if we could have a box office success with "the godfather," imagine what else these guys can do if we give them a chance. >> the whole school of filmmakers that came up in hollywood in the '70s really were roger gorman's children. >> coreman started making b movies for these exploitation companies. he made movies quickly so they were very, very low budget. >> suddenly, i had a group from

ucla, sc and nyu of young filmmakers. they learned on the set while directing. >> working with roger corman, it's like a college. you're tired. you're distracted and everything. it doesn't matter. you're shooting. >> francis coppola, marty scorsese, ron howard, and me began with roger. the new hollywood is unthinkable without roger. >> when i was making "grand theft auto," he said, ron, you keep doing a good job for me on this picture, and you'll never have to work for me again. and i guess i never did work for roger again. but i'm forever grateful for the opportunity he gave me. >> martin scorsese made a few small films in the late '60s and early '70s. people started to pay attention when he does "mean streets." >> i wanted to make films about

an area where i grew up. i didn't really see organized crime. i was living in it. >> marty scorsese burst upon the scene with a kind of frightness, violence, and a restlessness to find the rhythms of the streets that don't feel anything like a movie. >> how much money you got? >> i ain't got nothing. >> "mean streets" came out of events that occurred to me and my friends associating with people that can be detrimental to you, yet there's love involved there. >> the first time you see robert de niro dancing around like everybody else you are like what the [ bleep ] is that? who is that? >> hey, there ain't nothing wrong with me, my friend. i'm feeling fine. >> it was about friendship and loyalty. it was one of those movies that resonated with me because it reminded me of the same situation that i was in, just different color people. >> "taxi driver" reflected the

world that i knew, the steam coming from the streets, the nighttime of the city. it's always night. especially for a guy who wants to drive a cab at night. >> how is your driving record? >> it's clean. it's real clean, like my conscience. >> you going to break my chops? >> the conflict with travis character to me and de niro, we knew there was a truth to it. >> martin scorsese gets the best out of people but let's them go as far as they can go. >> i love him. >> it's a story about a guy who has a psychological descendant to hell and finds redemption through an act of self-sacrifice and violence. >> the idea had been growing in my brain for some time. >> he decides to assassinate a presidential candidate. >> true force. all the king's men cannot put it back together again. >> and then he turns this

crusade to rescue this child prostitute. >> get me out of here, all right? >> he seems heroic, but he isn't. >> the farelessness of that performance. de niro wasn't interested in being sexy or pretty, just being real. and travis is one of the great characters of 20th century film. >> you talking to me? >> i remember sitting at his feet and him beginning this phrase, are you talking to me. >> it's something i worked on. i don't know -- it just seemed right, the mirror and so on. >> well, i'm the only one here. >> i saw it happen. i saw him -- i saw him transform. now, all-day matte goes crayon easy.

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>> when i think of the great american, the ones that have a drawly original language. this is absolutely that. >> outside it is ben i did but here it is so hot. >> and i think he's a little bit undercelebrated just because he happened to have found his

language in the musical. ♪ but, but my -- >> only the 1970s can give you a musical set in 1930s germany when naziism is on the rise and not soft pedal any of it. it's a musical in as much as it has musical numbers, but it takes place in the context of a sleazy pub. >> it's the subtle changes we see where the swastikas start popping up in the audience and the stage starts taking a turn toward the darker and more anti-semitic. >> you know what's coming. all the music, all the culture, all the cruelness, every kind of sexuality, all of this is going to go away. ♪ >> and then that song of

"tomorrow belongs to me," furs it's just this young sweet voiced boy singing, and then very slowly but surely we see that oh, no, these are nazis singing. ♪ >> that's what "cabaret" is about, how something like this can happen. >> you still think you can control them? >> that year bob fosse was nominated against coppola for the "godfather" and he won. >> bob fosse for "cabaret." >> being character >> he characteristically pessimist and cynic, this and some of the other nice things that have happened to me in the last couple days may turn me into some sort of hopeful optimist and ruin my whole life. >> the general premise of bob

fosse's "all that jazz" is a man who is working himself to death. >> it's showtime, folks. ♪ they say the neon lights are bright on broadway ♪ >> here was this incredibly complicated character who was so talented and so charming and the way the movie was constructed put you so inside the feeling of him. >> nothing i ever do is good enough. >> it's autobiographical but his kind of manic drive for perfection that can never be achieved. ♪ we tried to warn you somehow >> you didn't listen, daddy. you didn't listen. >> he had a heart attack. >> had a heart attack and open heart surgery and i became very interested in death and hospital behavior and the meaning of life and death and those kinds of subjects. >> hey. ♪ death is in >> that's really his love story

in the movie is with death. >> "rocky horror picture show" was initially a flop. >> hello. >> fox released it. people didn't get it. they didn't know what to make of it. ♪ >> it's about a couple lost on a highway, and it just gets so weird. ♪ why don't you just stay for the night ♪ ♪ maybe for a bite ♪ i could show you my favorite obsession ♪ >> "rocky horror picture show" was a tradition that played only at midnight and it was like some cabaret, vaudeville participatory experience. >> how many times have you seen it? >> about 56. >> around 100. >> this is my 301st time. >> that was one of the rites of passage so adulthood, the first time your parents could say you can go out and see a midnight movie, and yeah, it's okay if

it's "the rocky horror picture show." >> "saturday night fever" was the me of to capture the whole disco phenomenon in a way that was exhilarating. > in "saturday night fever," the music was essential to the story but wasn't part of the performance of the characters in the story. ♪ don't know why i'm surviving every lonely day ♪ >> that was a complete shift in how musicals were adapted. john travolta is not singing and dancing. he's just dancing and the music is part of the narrative. >> let's go. >> right on. ♪ >> you didn't have to be a disco fan to be caught up in the "saturday night fever"" bee gees moment. >> tony, the character in the film, is finished with high school. he's working full time at a paint store, and he has to decide what he wants to do with his life. >> watch the hair. you know, i work on my hair a long time and you hit it.

>> his only release, his only claim to fame in the local area and also to his own personality is being the best disco dancer in that town. ♪ >> "saturday night fever" is a terrific film actually and it has a lot of psychological drama in it. >> i did it. >> come back in. come on. >> in "saturday night fever", john travolta's character is telling an extremely dark and gritty story. in "grease," he's not. ♪ you're burning up the quarter mile ♪ >> i love "grease," the musical. it shows you a high school that i didn't go to, but the songs are timeless. ♪ boy and girl meet but uh-oh those summer nights ♪ >> olivia newton-john was amazing in that role. ♪ ♪ tell me more, tell me more you really believe that she feels i want to break out of my shell.

>> then in order to win over the guy, she has to become a slut. she looks pretty good. >> tell me about it, stud. >> it's problematic looking back at it now in terms of the ultimate message that it sends. >> becoming who this man wants you to be and you'll be happy but you'll do it in song at a carnival so it's okay. ♪ ♪ we'll always be together and they're flying off. >> what? why are they flying? ♪ >> it doesn't mauk any senke an. it doesn't matter.

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(music throughout)

>> hey! it's me! hey! i'm a police officer! police officer! >> it's really the classic new york director. he puts the streets and the energy of new york on the screen in a way that no one else has ever done better. >> that thing on your lip, it goes. and get a haircut. >> based on a true story. sharpico say police officer who cannot stomach the corruption he sees around him. >> frank, who can trust a cop who don't take money. >> he breaks the code of

silence. the effects on his life are catastrophic. >> i ought to cut your tongue out. >> al pacino is always on fire. >> it's safe! with my ass on the line, it's safe. >> the ael poo ppeal of him is energy, that fire, that kind of integrity which allows him to move into all sort of rolls from the "god father" to a cop to a bank robber in "dog day afternoon." >> nobody move. >> they reteamed for "dog day afternoon," again for "a true story." it's about this guy who tried to rob a bank in 1972. >> they picked it up this afternoon. >> everything that could go wrong goes wrong. >> right now i can see it. >> who is it? >> cops.

>> the kindness and humanity of the bank robbers was knew. >> who has to go to the bathroom? see now they all have to go. >> this was the up ending of e precepts of the bank robbery film. >> you get the idea of criminal as celebrity. >> hello? no, i just saw myself. why am i doing it? >> yes. >> doing what? >> robbing a bank. >> oh. >> it's one of those movies where you're literally rooting for the bad guys because the bad guys aren't that bad. >> he doesn't look very tough to me. does he alook tough to you. >> no. >> "sweet sweetbacks" is a hugely important film. the black panther party said it was the cultural representation of the black revolution.

>> "sweetback" is a hus letter and a jiggolo but he watches police brutalize a young man. he decides to take these police officers down physically and violently. and as a result, he's on the lam. >> you know as a film goer he's going to get caught, he's going to be convicted, he's going to be shot by the police, and none of those things happen. i remember seeing that movie. people were cheering because they had never seen anything like that. and that become ace moment when black filmmakers kind of look and say oh, we can tell those stories now, can't we? >> that's the best movie theme song of all time has to be "shaft." isa isaac hayes tells you everything you need to know about the character. ♪ who is the character when there's danger all about ♪

♪ shaft >> right on. >> "shaft" is a private investigator. he has his hands in mainstream society as well as the underworld. of course, his leather game throughout that film is amazing. >> gordon parks who directed the film is this great photographer. renaissance man. in many ways, "shaft" is a projection of parks. but he made him a super hero. >> these movies set the tone for what comes to be known as the black-ploitation era. >> the queen to me of the 1970s was pam greer. she was playing a black heroin who got to be assertive and had guns and took on villains. as a black girl, as i was at the time, seeing this larger than life beautiful woman coming out triumphant at the end was amazing. >> what i love about pam greer

is that she is bad ass, but she's sexy at the same time. she's really a unique presence at that time. guys interested in her as a sex symbol. women interested in her as a feminist symbol. people interested in her as a movie star. she was that present in the culture. >> people in the black community embraced bruce lee because he was not another sort of white guy. >> in 1970, you went into a black person's basement, they might have posters up. posters were really big then. you might have malcolm x. you might have jim brown. every black household had bruce lee. bruce lee was single handedly one of the reasons why kids all over the suburbs were trying to kick each other in the nuts. >> everybody wanted to be bruce lee, but nobody wanted to study karate for as long as you needed to to be bruce lee.

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per se. >> john cassiavettes was everything. actor, director, producer, maverick. >> are you kidding? >> what i find so special is his exploration of relationships. edging his passion for the human condition and how we interact with one another. >> come over here. >> cassiavettes crafted these actors together. he was married to jenna rollens. it seemed like wherever she was, she just took over a room in this very dignified way. but wasn't afraid to have fun. >> i got a great idea. when you get home from school, we're going to have a party. we're going to -- >> a woman under the influence

is about a man and a woman in a loving marriage that's beset by the woman's personality. >> you think there's something wrong with me or something? you think i'm whacko or something? >> she has this energy about her, but you slowly see it unraveling. >> it's kind of devastating. but, wow, what a performance. it was really refreshing to see a movie that put a woman directly at the center. >> thank you for everything. >> this was right at the beginning of the woman's movement. and i found the script for alice. the studio said who do you want to direct it? >> francis coppola said to hire him. >> so, i asked to meet marty. i said i want to tell this story from a woman's point of view, and i can't tell from watching this film if you know anything

about women. do you? he said no, but i would like to learn. >> i was trying to deal with it just as a person. and i had ellen as a guide. >> boy, you really need someone to talk to, don't you? >> alice doesn't live here anymore. it was a revelation for me because there had been no films about single moms. >> how long do you think we'll have to stay in this hell hole? >> she's not only got all this heart, but she's funny and strong. >> would you mind the turn around for me? >> turn around? why? >> why can't you? >> well, look at my face, i don't sing with my ass. >> i felt like that was one of my early films that take the veil off it. people are messy and complicated and you can still love them. >> 70s cinema had an interest in reality. you started to have actresses who had a completely believable quality to them.

>> i'm a married woman. >> it was a movie that happened happened at exactly the right moment. >> she a good lay? >> her husband leaves her for a younger woman, and the whole movie is the after math of that. >> she had this kind of strength and femininity and vulnerability. it's just dimensional. >> i just want to see how it feels to make love to someone that i'm not in love with? >> how does it feel? >> sort of empty. >> in the '70s, there weren't too many female directors, let alone female writer/director/actors. so, elaine may is one of the great triple threats of the 20th century. >> in the '50s and early '60s, elaine may and mike nichols were a big comedy team. >> mike nickels went on to direct the graduate.

and elaine may was a screenwriter and she was tired of directors changesing her work, so she decided she should direct her own film. >> she's perfect. >> "a new leaf" made you feel like you could tell a great, funny story and it didn't feel like oh, this is just girl stuff. ♪ >> with "the heartbreak kid" elaine may ushered in what i like to call uncomfortable comedy which is now the norm. >> you want to see us in 50 years? >> the premise is charles groeden, jewish guy, and then he meets kelly who is cybill shepherd and wants to have an affair with her during his honeymoon. >> i've been waiting for a guy like you all my life. >> just breaks your heart because you just want to punch

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every director looks at "jaws" and thinks, degree of difficulty? 10. hit to miss ratio, you know, zero. steven spielberg hit every 10 out of 10 on all fronts. >> we know all about you, chief. you don't go in the water at all, do you? >> some bad hat, harry. >> jaws was a very popular novel about a shark attack in cape cod. what steven spielberg did was made this the kind of shark movie that alfred hitchcock would make. >> he ups the ante with the

suspense. how to tantalize the audience with the fear that something might happen or is about to happen. but nothing does happen. and then you catch him off guard when something does happen. >> the john williams theme from "jaws" mean i'm going to scare the shit out of you and come get you. >> when he saw my cut on jaws, he went to the piano. took a couple of fingers and went da, da, da, da. da, da, da, da, da, da. and i thought, oh, my god. he's going to wreck my movie. oh, my god, it's over. i thought the film had almost wrecked my life it was so impossible to make and suddenly i'm getting a score with three fingers on the low keys? i came to the first day of

scoring, and i realized that if this film was going to be successful, 50% of the success of the film is going to be because of what i just heard. and that's exactly what happened. the first time you get a sense of how big the shark is, you're immediately worried about those guys on the boat. they're going to die. >> you're going to need a bigger boat. >> jaws hit me when i was 15. the electricity in that theater was unsurpassed. the popcorn fly. to watch them jump out of their seat. to see women scream. we'd never seen anything like it. >> you were on the "indianapolis"? >> what happened. >> japanese submarine slammed two torpedos into our side, chief. >> and then he settled down and let three actors go to it with just quiet dialogue. >> didn't see the first shot for about a half an hour. >> it was this camaraderie

amongst these characters that elevated what the movie was. >> so 1100 men went in the water. 316 men come out. the sharks took the rest, june 29th, 1945. >> jaws is a friggin' masterpiece. >> "jaws" was the first real gigantic blockbuster. heavily advertised. opened on a billion screens at the same time. it became a cultural milestone immediately. it changed everything. >> it was even more in my dna to make "close encounters" than it was to make "jaws." i was always into ufos. i was always looking into the sky wondering when it was going to land in my yard. >> i must think about that film at least once a day. maybe it's remembered or thought of as a science fiction film.

but the thing that i respond to the most is the domestic drama. the kids in that family and their response to their father becoming unhinged. >> i guess you've noticed something that's a little strange with dad. >> when he becomes so obsessed, he starts to create a grand canyon between his family and himself. >> while the movie has this wondrous optimism about what is in the heavens, it also has this really sophisticated darkness about what it is to have touched that world. and how the -- once you've tasted or seen something no one else would believe, there is no going back. >> it's this gigantic special

effects-laden personal film. there's no one else that could have made that movie but spielberg. >> i remember as a kid watching "close encounters" and thinking, i'd go. how would you not go? ♪ >> i love the smell of napalm in the morning. >> it was an extraordinary time. we were all playing off each other, and there was no doubt we were changing things. >> get them off. >> there were people conspiring to control events. so you start to see movies that reflect that. >> did he confirm it? >> absolutely. >> it was more about who were the two guys that dug underneath like gophers to get to the truth. >> i loved "blazing saddles" because it is such a revolutionary film. >> it just transported me in ways i had never really quite

experienced before. ♪ ♪ ♪ ♪